Rosalie (1937)

A West Point cadet (Nelson Eddy) falls in love with a Vassar student (Eleanor Powell), who is actually the Princess of a tiny European municipality. When she is called back to her country, he goes AWOL and follows her, still not knowing she is royalty. Based on the 1928 stage musical and directed by W.S. Van Dyke (THE THIN MAN). The Sigmund Romberg and George Gershwin songs of the original musical have been jettisoned in favor of a new score by Cole Porter, the most famous of which is In The Still Of The Night but it still has the vibe of an operetta. On vacation from Jeanette MacDonald, Nelson Eddy is as stiff and uncharismatic as ever. Thankfully, there's that tapping dynamo Eleanor Powell who kicks the movie alive when she dances. The movie itself is an overblown spectacular with literally a cast of thousands that overwhelms the flimsy plot. I kept hoping that Ray Bolger (as Eddy's sidekick) would get a chance to dance with Powell but not only does that not happen, Bolger isn't even given a full number to do. For Eleanor Powell fans only. With Frank Morgan repeating his role as the King from the original production, Edna May Oliver, Ilona Massey, George Zucco and Virginia Grey.

Women & Men 2 (1991)

Three short stories adapted into films: 1) Based on the short story RETURN TO KANSAS CITY by Irwin Shaw (RICH MAN POOR MAN) and directed by writer Walter Bernstein (THE FRONT). A boxer (Matt Dillon) carefully plans for his future but his fun loving wife (Kyra Sedgwick) wants to have fun now! 2) Based on the short story A DOMESTIC DILEMMA by Carson McCullers (MEMBER OF THE WEDDING) and directed by costume designer Kristi Zea (TERMS OF ENDEARMENT). A young business executive (Ray Liotta) struggles to deal with his wife's (Andie MacDowell) alcoholism and the threat she poses to their children. 3) Based on the short story MARA by Henry Miller (TROPIC OF CANCER) and directed by Mike Figgis (LEAVING LAS VEGAS). Set in Paris, a struggling writer (Scott Glenn) has an encounter with a down on her luck prostitute (Juliette Binoche). As with all anthology films, the quality varies. I found the third story unpleasant but hey, this is from the director who gave us LEAVING LAS VEGAS! The first two have a simple quality that lets the poignancy of their stories take front and center. I'm not so sure how to take all three stories attitude toward women. Sedgwick is a nagging self centered wife, MacDowell is an alcoholic in denial and a poor mother figure and Binoche is a delusional hooker so used to being abused that she can't handle kindness! With Jerry Stiller, Jane Krakowski and Jared Harris.

I Was A Shoplifter (1950)

A cop (Scott Brady) agrees to go undercover to shadow a pretty kleptomaniac (Mona Freeman), a nice girl from a good family. She is being blackmailed by a ruthless pawnbroker (Andrea King) into working for them. Directed by Charles Lamont (ABBOTT & COSTELLO MEET THE MUMMY), this exploitation item lives up to its lurid title which doesn't necessarily mean it's very good. It's a B programmer courtesy of Universal with a noir-ish atmosphere. What can one say about a movie like this? It accomplishes what it sets out to do, the actors recite their lines with believability and don't bump into the furniture and it's over quickly at one hour and 14 minutes. The best performance comes from Andrea King whose cool as a cucumber fence makes for a splendid femme fatale and much more fun and interesting than Mona Freeman's good girl. With Rock Hudson, Tony Curtis, Charles Drake, Larry Keating and Robert Gist.

Calling Philo Vance (1940)

Renowned detective Philo Vance (James Stephenson) is on international assignment for the United States government. His assignment is to investigate the selling of aircraft designs and plans to foreign governments. Based on the novel THE KENNEL MURDER CASE by S.S. Van Dine (previously filmed in 1933) and directed by William Clemens (NANCY DREW, DETECTIVE). The plot of the 1933 movie (which starred William Powell as Philo Vance) has been slightly altered for this version. Instead of the art world background, we have the world of international espionage. James Stephenson (who received an Oscar nomination for THE LETTER released the same year) was going to be the new Philo Vance but he died the next year at the age of 41. As to the film itself, it's not as interesting as the 1933 movie, possibly because Stephenson lacks the charisma and wit of William Powell and most likely because the movie just seems tired and the supporting players with one exception don't bring much to their parts. The one exception is Bo Ling as a Chinese maid working for the Japanese government. With Margot Stevenson, Henry O'Neill, Edward Brophy, Sheila Bromley, Martin Kosleck and George Reeves.

Attack Of The 50 Foot Woman (1993)

A wealthy and beautiful heiress (Daryl Hannah) would seem to have it all. But her mean spirited father (William Windom) wants control of her money and her cheating husband (Daniel Baldwin) doesn't love her, just her wealth. She lacks the confidence to stand up on her own until she encounters an alien spaceship. A remake of the 1958 sci-fi classic and directed by Christopher Guest (BEST IN SHOW). The screenplay by Joseph Dougherty updates Mark Hanna's original screenplay with a feminist slant and the humor is intentional (which wasn't always the case with the 1958 movie) which makes the story less "campy". The feminist slant while obvious isn't heavy handed but humorously injected into the story. Well acted except for Daniel Baldwin (the least talented of the Baldwin brothers). Fans of the 1958 cult film should enjoy this one too. With Frances Fisher, Cristi Conaway and Xander Berkeley. 

The Menu (2022)

A foodie (Nicholas Hoult) and his date (Anya Taylor Joy) travel to an exclusive island restaurant where the chef (Ralph Fiennes) has prepared a pricey, lavish menu. But it soon becomes clear that the dinner guests are about to be served some shocking surprises. Directed by Mark Mylod (THE BIG WHITE), this delicious black comedy is an audacious satire as it pokes fun at pretentious foodies, diners and chefs while slowly evolving into a horror movie! It avoids the obvious (no cannibalism, thank you) while it amazes you with its wickedly amusing shocks. I was worried that it wouldn't be able to sustain itself and peter out but it remains iniquitous to the very last shot. The acting is decent and in the case of the wonderful Anya Taylor Joy as our surrogate conscience, better than that. Perhaps not to everyone's palate but I loved it. With John Leguizamo Janet McTeer, Hong Chau, Judith Light and Paul Adelstein. 

Murder Ahoy! (1964)

Recently installed as a member of a Trust that oversees the rehabilitation of young criminals, Miss Jane Marple (Margaret Rutherford) witnesses the murder of a fellow trustee (Henry B. Longhurst). She suspects he was killed because he saw or found something on a recent visit to a ship that houses the wayward youths. She takes it upon herself to visit the ship to find out what was discovered and lead to his death. Directed by George Pollock (MURDER SHE SAID), this was the fourth and final film in the Margaret Rutherford as Agatha Christie's Miss Marple series. Unlike the previous three movies however, this was not based on a Christie novel but was an original screenplay. It's the weakest of the four films. As marvelous as she is in these movies, Rutherford is not Christie's Miss Marple as any reader of Christie will know and these films often placed Miss Marple in situations that Christie would never condone in her books. For example, the movie has Miss Marple in a duel with swords with the movie's villain toward the end. The mind shudders! One could put up with all of that if the mystery were clever or fun but it's dull and trite. With Lionel Jeffries, Charles Tingwell, Stringer Davis and Derek Nimmo.

Blue Sky (1994)

Set in 1962, a nuclear engineer (Tommy Lee Jones) who is a Major in the army must deal with the pressures of his high stress job and the unstable emotional and mental health of his wife (Jessica Lange in an Oscar winning performance). Directed by Tony Richardson (TOM JONES) in his final film. Filmed in 1990, BLUE SKY wasn't released until 1994 (three years after Richardson's death) because of the bankruptcy of Orion pictures. It's far from Richardson's best work and I wish it were better but the movie is still good enough to stand on its own. But it's one of those films where a brilliant performance justifies the movie's existence. I'm talking about Lange's stunning work here. Evoking Marilyn Monroe without aping her, Lange is sensual, vulnerable and on the edge. I kept waiting for some false note to pop up but it never happened. She walked that tightrope without blinking! Tommy Lee Jones also does terrific work here. With Powers Boothe, Carrie Snodgress, Chris O'Donnell, Amy Locane, Mitchell Ryan and Annie Ross.

The Legend Of Hell House (1973)

Having literally destroyed a team of researchers except one in 1953, a brooding mansion is referred to as the Mt. Everest of haunted houses. 20 years later, a second group of psychic investigators attempt to unravel its deadly secret: a physicist (Clive Revill) and his wife (Gayle Hunnicutt), a mental medium (Pamela Franklin) and a physical medium (Roddy McDowall), who is the only survivor from 1953. Based on the novel by Richard Matheson (I AM LEGEND) and directed by John Hough (WATCHER IN THE WOODS). The template for this film is the superior THE HAUNTING (1963) which could justifiably be called the Mt. Everest of haunted house movies. Matheson has cleaned up his novel for this film adaptation eliminating most of the sex and sadism in the original book. What we get is an entertaining piece of second rate horror pulp that should satisfy most horror fans if they don't expect too much but it's not a memorable film although it has its defenders. With Roland Culver and Michael Gough.

Penthouse (1933)

A lawyer (Warner Baxter) is notorious for defending gangsters. So much so that his law firm asks him to resign. But when a friend (Phillips Holmes) is accused of murdering a party girl (Mae Clarke), the attorney accepts the case and takes up with a call girl (Myrna Loy) in helping solve the murder. Based on the novel by Arthur Somers Roche and directed by W.S. Van Dyke (SAN FRANCISCO). This crime movie has the advantage of being a pre-code film which allows them to make it very clear what Loy's profession is and Loy is the reason to watch the movie. This was the kind of potboilers that MGM were assigning Loy until she was rescued the next year with THE THIN MAN (1934) and moved up to MGM's A list stars. The film is entertaining in its own B movie way although it's not very good but in addition to Loy, there are two supporting performances that stand out: Mae Clarke makes the most of her brief part before she's killed off and Nat Pendleton as a racketeer brought a smile to my lips whenever he popped up. With Charles Butterworth, Martha Sleeper, C. Henry Gordon and Theresa Harris.  

Grâce à Dieu (aka By The Grace Of God) (2019)

A bank executive and practicing Catholic (Melvil Poupaud) is assailed by memories of sexual abuse by his priest (Bernard Verley) when he was a boy. He is horrified when he learns that the priest is still active within the church and working with children. But he isn't the only victim of the priest. Directed by Francois Ozon (UNDER THE SAND) and based on the 2019 conviction of Cardinal Barbarin (played here by Francois Marthouret) for concealing the conduct of Father Bernard Preynot (played by Verley), who molested children for decades before eventually defrocked and convicted. Ozon is known for his strong work with actresses (Charlotte Rampling, Catherine Deneuve, Isabelle Huppert to name three) but here it's the male characters that dominate the movie. The Oscar winning film SPOTLIGHT (2015) also covered sexual abuse by priests and the Catholic church's covering up but Ozon concentrates on three adult male protagonists (Denis Menochet and Swann Arlaud are the other two) and focuses on what the effect of the sexual abuse had on their lives (guilt, shame, loss of faith in the Catholic church, sexual dysfunction etc.). Rather than a deja vu "we've heard it all before" experience, this allows the film to center on the victims rather than the institutional whitewashing. A potent film. With Josiane Balasko and Aurelia Petit.

Smilin' Through (1941)

A young English lass (Jeanette MacDonald) falls in love with a young American (Gene Raymond). The romance is opposed by her guardian (Brian Aherne) who resents the young American, who is the son of the man (Gene Raymond) who murdered his great love (Jeanette MacDonald). Based on the 1919 play by Jane Cowl and Jane Murfin (previously filmed in 1922 and 1932) and directed by Frank Borzage (A FAREWELL TO ARMS). Boy, does this one positively creak! Unlike the previous film versions, musical numbers have been added to accomodate MacDonald but even so she's used here more as an actress than as a singer. She plays dual roles (an aunt and her niece) but if her characters didn't have different names, you'd never be able to tell the difference. In his dual roles, Gene Raymond fares somewhat better. Technicolor has also been added but it's a slog to get through. If you hadn't seen Borzage's better films, you'd never know he wasn't a hack judging by this one. Unfortunately, the print I saw had faded colors and the transfer I saw was on the soft side. Maybe if I had seen a pristine print, I might have enjoyed it more ..... maybe. With Ian Hunter and Patrick O'Moore.

Blue Hawaii (1961)

Just released from the Army, a young man (Elvis Presley) is eager to return to his beach lifestyle of surfing and hanging out with his friends. But his mother (Angela Lansbury) is pushing for him to follow in his father's (Roland Winters) footsteps and take over the management of the family's pineapple factory. Directed by Norman Taurog (GIRL CRAZY), this formulaic Elvis musical is strictly for the diehard Elvis fans. Presley was just coming off two dramatic films (FLAMING STAR, WILD IN THE COUNTRY) where the emphasis was on his acting, not his singing. They weren't smash hits but BLUE HAWAII was and this Elvis formula (with the occasional detour) continued for the rest of his movie career: light but thin "barely there" plots, lots of pretty girls and a load of cranked out Elvis songs (some good, most mediocre). Angela Lansbury (only 10 years older than Elvis) brings a bit of humor as his Southern belle mother and Charles Lang's wide screen (Panavision) lensing accents the beauty of the Hawaiian islands. In fact, the whole movie seems like a long and expensive commercial for Hawaiian tourism. With Joan Blackman, Nancy Walters, John Archer, Jenny Maxwell and Iris Adrian.

Ambush (1950)

The U.S. Cavalry knows that traveling through unmapped hostile Apache territory in search of a woman (Marta Mitrovich) kidnapped by Apaches could mean a trap. So they ask a prospector and scout (Robert Taylor) who knows both the terrain and ways of the Apache for help. Based on the short story by Luke Short and directed by Sam Wood (GOODBYE MR. CHIPS). As a fan of movie westerns, I always enjoy coming across a new (to me) western that's above average. APACHE isn't a great western but it has a lot going for it including a solid screenplay by Marguerite Roberts, who adapted the book TRUE GRIT (1969) for the screen and a strong performance by Robert Taylor. Perhaps the most interesting aspect of the film is a subplot involing an abused wife (Jean Hagen), her brute husband (Bruce Cowling) and the Cavalry Lieutenant (Don Taylor) who loves her. The outdoor B&W cinematography by Harold Lipstein (HELLER IN PINK TIGHTS) is very good and makes good use of the New Mexico and Simi Valley, California locations. The public liked it enough to make it a modest hit. With Arlene Dahl, John Hodiak, John McIntire, Leon Ames and Chief Thundercloud.

The Last Days Of Pompeii (1984)

Set in 79 A.D. in the coastal city of Pompeii, a disparate group of characters engage in political intrigue, romantic liaisons and religious fervor while the volcanic Mt. Vesuvius rumbles and shakes in the distance. Among them: a Greek noble (Nicholas Clay), a corrupt Egyptian priest (Franco Nero), a prostitute (Lesley Anne Down), a gladiator trainer (Ernest Borgnine), an ambitious politician (Ned Beatty), a soon to be priestess (Olivia Hussey), a blind slave (Linda Purl) and a dying aristocrat (Laurence Olivier, looking frail). Based on the 1834 novel by Edward Bulwer Lytton and directed by Peter Hunt (ON HER MAJESTY'S SECRET SERVICE). Lytton's novel has been filmed several times for film and TV, the most notable version being the 1935 film which bore little resemblance to the book. Running over four and a half hours which allows this version to adhere closer to the book than previous versions. It's really nothing more than a soap opera done on a lavish scale and if you've a soft spot for these Ancient Rome epics then you might enjoy it, others may be frustrated in its clunky storytelling. There are too many characters for any detailed characterizations so we get cliched broad strokes especially in the hilariously miscast Ned Beatty, as out of place in Ancient Rome as a hillbilly. The cinematography is by the great Jack Cardiff (BLACK NARCISSUS). With Anthony Quayle, Brian Blessed, Siobhan McKenna, Duncan Regehr, Marilu Tolo, Catronia MacColl and Benedict Taylor.

She Said (2022)

In 2017, a New York Times reporter Jodi Kantor (Zoe Kazan) receives a tip that actress Rose McGowan was sexually assaulted by producer Harvey Weinstein. Although the actress confirms it, she won't permit her name to be used in the article which is being written. Determined to break the story of Weinstein's history of sexual abuse and harassment, she recruits another reporter Megan Twohey (Carey Mulligan) to help with the piece which eventually lead to the #MeToo movement. Based on the non fiction book by Jodi Kantor and Megan Twohey which detailed their investigation which lead to Weinstein's downfall (although Ronan Farrow was doing a similar article for The New Yorker at the same time) and directed by the Emmy winning Maria Schrader (UNORTHODOX). In the tradition of ALL THE PRESIDENT'S MEN and the Oscar winning SPOTLIGHT. this is a spellbinding account of a detailed investigation by journalist to expose a horrible wrong that powerful people were trying to hide and take away the voice of its victims. It's a pity that the movie didn't find its audience (who were burned out on the Weinstein story and the #MeToo movement) since it's an important one and effectively told but also because it's a damn good movie! With Ashley Judd, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Samantha Morton, Peter Friedman and Angela Yeoh.

All Night Long (1981)

Facing a mid-life crisis, a successful executive (Gene Hackman) is demoted to managing a seedy all night drugstore after losing his temper at the head office. He begins an affair with the ditzy wife (Barbra Streisand) of a relative (Kevin Dobson), who's already had an affair with his son (Dennis Quaid). Directed by Jean Claude Tramont, the film was a huge flop (and deservedly so) although it received some good reviews. Reputedly, Streisand fired her agent (who was married to the film's director) for talking her into taking the role after the movie tanked. In a nutshell, the movie's a stinker! When mega talents like Hackman and Streisand can't make a movie watchable, you know it's in trouble. As the dingy blonde, Streisand is horribly miscast in a role that screams out for a Goldie Hawn (though even she wouldn't have been able to save the movie). Hackman can do comedy (think YOUNG FRANKENSTEIN), just not this kind of comedy which was George Segal's specialty. It's a comedy but I couldn't even crack a smile. With Annie Girardot, Diane Ladd, William Daniels, Vernee Watson and Ann Doran.

The Garden Murder Case (1936)

When a jockey (Douglas Walton) dies during a race by breaking his neck, it's considered suicide since he announced before the race that he would break his neck. But when his father (Henry B. Walthall) collapses from the shock of his son's death and a wealthy millionaire (Gene Lockhart) is shot to death, society detective Philo Vance (Edmund Lowe) is convinced all three incidents are tied together. Based on the novel by S.S. Van Dine and directed by Edwin L. Marin (NOCTURNE). This was the tenth entry in the Philo Vance film series. Despite the titular presence of the innocuous Edmund Lowe as Vance, this is a solid entry in the series. An intriguing murder mystery with a houseful of suspects. It may seem rather complicated but it should be fairly easy for murder mystery buffs to piece together before Vance solves the case, I know I did. This would be the last Philo Vance mystery made by MGM. Warners would pick up the franchise for two more films. With Virginia Bruce, Kent Smith, Frieda Inescort, H.B. Warner, Jessie Ralph and Benita Hume, who would marry Ronald Colman and retire from acting.

Coming Apart (1969)

An emotionally disturbed psychiatrist (Rip Torn) rents a one room apartment and sets up a camera to record his own emotional disintegration. Written and directed by Milton Moses Ginsberg, this example of cinema verite is often self indulgent but you can't take your eyes off it. Made for $50,000, the film was rated X when it was released for its sexually explicit scenes. Many critics used the term pornographic in their reviews of the film. Some the sex scenes are still pretty raw and one can only imagine what 1969 audiences thought! Not that we needed it but the film serves as a reminder of what a terrific actor Rip Torn was. The film was scripted but the acting feels improvisitory, fresh and not thought out. I don't think the movie is entirely successful in what it sets out to do but I appreciated its audacity and its attempt to move away from traditional Hollywood storytelling. It's not a film for everyone but if avant garde film making appeals to you, give it a shot. With Viveca Lindfors, Sally Kirkland and Kevin O'Connor.

Fear Is The Key (1972)

Following the death of his wife and son in an airplane crash, an underwater salvage expert (Barry Newman) hatches an elaborate scheme to bring those responsible to justice. Based on the novel by Alistair MacLean and directed by Michael Tuchner (VILLAIN). In the 1960s and early 1970s, Alistair MacLean's novels were popular fodder for the movies. THE GUNS OF NAVARONE (1961), THE SATAN BUG (1965), ICE STATION ZEBRA (1968), WHERE EAGLES DARE (1968) among them. This potboiler isn't among the best adaptations made from his books. But it was a big hit in England and has a small cult following. What people remember most is the car chase through the Louisiana bayous and I have to admit it's very well done and I suspect it might have influenced a similar Louisiana car chase in the Bond movie LIVE AND LET DIE (1973). Newman has a nice masculine presence and should have had a bigger film career but his movies were never very good. He did better in television receiving Emmy and Golden Globe nominations for the series PETROCELLI. The action sequences are entertaining enough to sustain one's interest but not its characters. With Suzy Kendall, John Vernon, Ray McAnally, Dolph Sweet and in his film debut, Ben Kingsley.

La Fin Du Monde (1931)

An idealist (Abel Gance) who works for world peace is fatally wounded by a mob when they think he is a rapist. His brother is a renowned scientist (Victor Francen) who discovers a comet headed toward a collusion with the Earth. The idealist's dying wish is that his brother work toward the unity of mankind and the end of war to those that survive the comet's collusion. Based on the novel OMEGA: THE LAST DAYS OF THE WORLD by Camille Flammarion and directed by Abel Gance (NAPOLEON). Notable as the first sound film made in France. Those expecting a precursor to the disaster film like WHEN WORLDS COLLIDE (1951) are going to be disappointed. This is a muddled piece of naive political rhetoric. World peace is a commendable dream but the idea that world powers would unite as one universal entity toward a brave new world is, well ..... a lovely fantasy. The movie's biggest crime is that it's dull. It also has a religious bent so it's no surprise that Cecil B. DeMille showed interest in purchasing the U.S. rights to the film. When Gance's original cut pushed the three hour mark, the film's backers took the movie away from him and cut it down to 96 minutes. I'll give Gance the benefit of the doubt that his longer cut would have been more coherent but given what's seen here, I suspect it would have been every bit as ponderous. The film's original reception was given the cold shoulder by both critics and the public. With Colette Darfeuil, Sylvie Grenade and Samson Fainsilber. 

Adventures Of Bullwhip Griffin (1967)

After losing the family fortune, a young Boston lad (Bryan Russell) and the family butler (Roddy McDowall) stowaway on a ship bound for the California Gold Rush. Based on the novel THE GREAT HORN SPOON by Sid Fleischman and directed by James Neilson (THE MOON SPINNERS). It's an energetic live action cartoon with all the performances played very broadly. In style, it reminds me of Blake Edwards' THE GREAT RACE but without all the extreme excess. That in itself is a compliment but I wouldn't take that as a recommendation. It's never boring, I'll give it that but it's not very fresh either. It's nice to see Roddy McDowall in a leading man role for a change and Suzanne Pleshette gets to sing (she's not bad) and dance as a saloon entertainer. With Karl Malden, Harry Guardino, Mike Mazurki, Hermione Baddeley, Richard Haydn and Joby Baker.

My Love Came Back (1940)

The doting CEO (Charles Winninger) of a major music company is smitten by a young music student (Olivia De Havilland). Although married, he secretly arranges for a scholarship out of his company's funds to help pay for her education. Misunderstandings and complications follow which causes problems for all concerned. Directed by Curtis Bernhardt (A STOLEN LIFE), this is an American remake of a 1935 Austrian film called EPISODE. It's a silly but not unpleasant piece of screwball comedy. One of the problems of the studio system was that it often cast its contract players in films they aren't suited for. Here, Olivia De Havilland and Jeffrey Lynn are cast as the romantic leads but De Havilland (a skilled dramatic actress) and Lynn (never the most imposing of leading men) don't seem to have a funny bone in their acting bodies. Fortunately, the supporting players make up for their lack of farcicality. With Jane Wyman, Eddie Albert, Spring Byington, S.Z. Sakall and as Winninger's son, William T. Orr, who would become a prolific TV producer at Warners in the 50s and 60s. 

Sky Full Of Moon (1952)

Just turned 21 years of age, a naive Nevada ranch hand (Carleton Carpenter) goes to Las Vegas intending to take part in the annual rodeo. But when he meets up with a blonde (Jan Sterling) who's been around, he grows up real fast. Written and directed by Norman Foster (RACHEL AND THE STRANGER), this amiable piece of western fluff may be a piffle of a movie but there's a likable charm to it. I liked that the movie gives us a bittersweet ending rather than a traditional happy ending. Carpenter plays the bumpkin with just the right amount of naivete and doesn't go overboard with the yokel and as the brassy "bad" girl with a heart of gold, Jan Sterling is perfectly cast. It's not a film to seek out but if it comes across your way and you've nothing better to watch (or do), it's a pleasant time waster. With Keenan Wynn, Elaine Stewart, Douglass Dumbrille and Chubby Johnson.

Because Of Winn Dixie (2005)

Set in a small Florida town, a preacher (Jeff Daniels) and his young daughter (AnnaSophia Robb) are having a difficult time fitting in. When the girl finds a homeless dog and brings it home with her, their lives begin to change. Based on the novel by Kate DiCamillo and directed by Wayne Wang (THE JOY LUCK CLUB). Nothing special but it's a wholesome family movie with a bit of sweetness. The Picardy Shepherd (actually four of them) who plays the Winn Dixie of the title had to be imported from France since the breed is rare in the U.S. The film is predictable but at least it's not icky in the kind of usual sentiment found in these family dog movies and I suspect we have director Wang to thank for that. Adults watching won't feel bored and younger kids should be entertained. There's a batch of supporting characters with backgrounds that fill out the tale. With Eva Marie Saint, Cicely Tyson, Dave Matthews and Elle Fanning.

Frieda (1947)

Toward the end of WWII, a British airman (David Farrar) brings his German bride (Mai Zetterling) to the small English village where he lives. Both he and his new wife must deal with the anti-German sentiment that pervades the town. Based on the play by Ronald Millar and directed by Basil Dearden (VICTIM). An engrossing film that reflects the attitude of many people post WWII. Is there something innate about the German race that perpetuates war? Zetterling's Frieda is not looked at as an individual but reviled because she is German, the attitude being that all Germans are bad. The film asks if the "good" Germans were as responsible for the rise of the Third Reich by not speaking out and allowing it to happen instead of resisting. This interesting topic is sometimes harmed by the heavy handedness of its screenplay. Only Glynis Johns as Farrar's sister in law seems to have a rational outlook on the situation. With Flora Robson, Barbara Everest, Albert Lieven and Barry Jones.

The Good House (2022)

Set in an idyllic New England coastal town, a successful realtor (Sigourney Weaver) has a problem she's unwilling to face. She's an alcoholic. She's good at keeping it together but a sudden series of events forces a decades in the making confrontation with her buried past. Based on the best selling novel by Ann Leary and directed by Maya Forbes and Wally Wolodarsky. Movies about alcoholics have been a film staple for decades. THE LOST WEEKEND (1945), DAYS OF WINE AND ROSES (1962), I'LL CRY TOMORROW (1955) to name just three. This is a tad different in that its protagonist is a functioning alcoholic who is able to move effortlessly in work and social situations rather than a raging falling down drunk. As a woman in denial over her drinking, Sigourney Weaver gives her best performance in years and it's a pity the film didn't get much attention when it was released in September of 2022. I think her performance is every bit as good as some of the actresses who are getting award season buzz this year. The film belongs to Weaver but there's a nice supporting performance by Kevin Kline as her romantic interest. If the film is available to you, it's worth checking out for Weaver's performance if nothing else. With Beverly D'Angelo, Morena Baccarin, Rob Delaney, Kathryn Erbe and David Rasche. 

Honor Among Lovers (1931)

A young secretary (Claudette Colbert) works for a wealthy Wall Street trader (Fredric March). He's interested in romancing her but not in marriage. When she gets married to a stockbroker (Monroe Owsley), he fires her. But their relationship doesn't end there. Directed by Dorothy Arzner (DANCE GIRL DANCE), this pre code drama is frank about pre marital relationships but it boils down to a rather sordid tale of a woman marrying the wrong man and standing by him even as he sinks into despicability. Its ending of Colbert going off with another man while still married must have raised some eyebrows in 1931. Although predictable, I liked it quite a bit. Colbert and March are agreeable and Owsley is suitably slimy. Arzner's direction is tight and its relatively brief running time (one hour, 15 minutes) assures that it won't wear out its welcome. If you're a fan of pre code movies, check it out. With a pre-stardom Ginger Rogers, Charles Ruggles and Ralph Morgan.

Lonely Are The Brave (1962)

After landing himself in jail trying to break out a friend (Michael Kane), a cowhand (Kirk Douglas) finds himself alone on the run from the law. Leading the manhunt is a sheriff (Walter Matthau) who must bring him to justice despite his sympathy for the fugitive. Based on the novel BRAVE COWBOY by Edward Abbey and directed by David Miller (MIDNIGHT LACE). Ignored by the movie going public when first released, the film's reputation has grown in the ensuing years and the film is very much admired by film cineastes. The driving force behind getting the movie made, Douglas wanted to call it THE LAST COWBOY which is an apt title. Douglas's cowboy is out of his time and the metaphor of Douglas and his horse (who just about steals the film) riding the wide spaces of desert country while jet planes fly overhead is fitting. He's an individual who needs to live on his own terms rather than conform to societal restrictions but the consequences are grim. The central story is intercut with a trucker (Carroll O'Connor) driving a shipment of toilets to New Mexico so you don't have to be a rocket scientist to figure out how it's going to end and the irony is too obvious and hurts the film somewhat. Douglas is excellent in what may be his best performance. Also worth noting are Philip Lathrop's (SOLDIER IN THE RAIN) rich B&W lensing and an early score by Jerry Goldsmith. With Gena Rowlands, George Kennedy, Bill Bixby and William Schallert. 

Dancing With Crime (1947)

When a good army buddy (Bill Rowbotham) is murdered, a taxi driver (Richard Attenborough) and his fiancee (Sheila Sim) investigate on their own. She goes undercover as a dancer in a nightclub where the dead man was last seen. Directed by John Paddy Carstairs (A WEEKEND WITH LULU), this minor British crime noir is on the simple side and is more entertaining than it has a right to be. Its lead character (Attenborough) carelessly puts his girlfriend in harms way and when a criminal mastermind (Barry Jones) poses as a policeman, he doesn't even bother to ask for identification and spouts off information that will aid the bad guys! And this is our hero! Still, it may be formulaic but it delivers the goods, however damaged. Married in real life, Attenborough and Sim make for an attractive pair. With Diana Dors (not yet a blonde), Barry K. Barnes, Judy Kelly and John Warwick.

Big Little Lies (2017)

A single mother (Shailene Woodley) and her son (Iain Armitage), whose birth was the result of a rape, move to Monterey, California to start a new life. She quickly becomes friends with two other mothers, who have their own problems: an abused wife (Nicole Kidman) and a wife (Reese Witherspoon) on a second marriage who has difficulty with her ex (James Tupper) and his new wife (Zoe Kravitz). Based on the novel by Liane Moriarty (the Australian setting has been moved to coastal California) and directed by Jean Marc Vallee (DALLAS BUYERS CLUB). This juicy heated seven hour mini series is both gripping and humorous and as irresistible as potato chips. We know a death (possibly a murder) has occurred from the very beginning and it's compulsive watching till all is revealed at the very end. Featuring terrific performances by its five lead actresses (Laura Dern as a charged up working mother is the fifth), the mini series boils over with tension (Monterey is a nasty place to live if this film is to be believed) as the community takes sides and goes to battle over such incidents as a controversial community theatre production and child bullying. Everyone seems two faced as they coo when they greet each other but gossip behind their backs. With Alexander Skarsgard, Adam Scott and Robin Weigert.

Le Corps De Mon Ennemi (aka The Body Of My Enemy) (1976)

Released from prison after seven years for a murder he did not commit, a man (Jean Paul Belmondo) returns to his hometown seeking vengeance on the people who framed him. Co-written and directed by Henri Verneuil (THE SICILIAN CLAN), this revenge crime film left an unpleasant taste in my mouth. Oh, it's very well done, stylish and well acted but I didn't get the satisfactory catharsis that most of these revenge movies are supposed to provide. Belmondo's wronged man has every right to exact "justice" from those responsible for his jail time but Belmondo, normally the most likable of actors, isn't very likable here. When you lie down with dogs, you can't complain when you get fleas and he went in with his eyes wide open. I can't believe he was that naive. He has a chip on his shoulder regarding the privileged elite class since childhood and that's what starts him on the journey to his downfall. There's a nice score by Francis Lai (A MAN AND A WOMAN). With Marie France Pisier, Bernard Blier, Francois Perrot, Daniel Ivernel, Nicole Garcia and Claude Brosset.

El Fantasma Del Convento (aka The Phantom Of The Monastery) (1934)

A man (Carlos Villatoro), his wife (Marta Roel) and their best friend (Enrique Del Campo) get lost while hiking through the hills. They are rescued by a mysterious monk who leads them to a secluded monastery to spend the night. But the strange occurrences during the night suggest to the visitors that something very sinister is going one. Co-written and directed by Fernando De Fuentes, this Mexican horror film is rich in atmosphere and mood but De Fuente's direction is far too leisurely for a horror movie. Perhaps a stronger underscore might have helped but the film's pacing isn't tight enough and does the movie's intriguing narrative no favors. The film has recently been restored in a fresh new transfer and contemporary reappraisals have been positive. Worth seeking out for horror film buffs. With Paco Martinez and Victorio Blanco.

The Boss (1956)

Beginning in 1919, a ruthless veteran (John Payne) inherits the clout of his political kingpin brother (Roy Roberts) and climbs the ladder of corruption all the way to the top of his state. Then comes the downfall. Directed by Byron Haskin (WAR OF THE WORLDS), the crime film with noir elements may be a B movie but it's very effective. Payne is very good as the arrogant crime boss who believes his power is untouchable but his faith in those around him contribute to his downfall. Payne's crime boss comes across as a man to be pitied rather than scorned. He believes in the loyalty of his best friend and so do we but eventually the boss's corruption reaches him too. The most interesting character is the plain Jane (Gloria McGehee) that he marries in a drunken stupor but his pride refuses to let her get a divorce. He treats her abominably and the irony is that she is the only loyal person in his life and only at the end does he realize how different his life could have been but it's too late. Not a particularly original film but better than a lot of well known noirs. With Doe Avedon, William Bishop, Rhys Williams and Joe Flynn. 

The Shape Of Things To Come (1979)

Earth has been devastated by the Robot Wars and mankind has settled a colony on the moon and other planets in the galaxy. But when the power mad ruler (Jack Palance) of a distant planet attacks a lunar colony, a team of scientists launch a dangerous mission against the dictator and his rebel army. Based on the novel by H.G. Wells and directed by George McCowan (FROGS). Although credited as an adaptation of the Wells novel, other than its title and a few character's names there is nothing of Wells book here. This low budget (and it shows) Canadian sci-fi film attempts to ride the coattails of current (at the time) films like STARS WARS (including a "cute" robot) and TV shows like BATTLESTAR GALACTICA. Simplistic and often incoherent, it's not even fun in the way bad sci-fi movies can sometimes be. Special effects are crude, the acting is monotonous and Palance's overacting comes as a relief as at least something lively is going on. With Carol Lynley, John Ireland, Nicholas Campbell, Barry Morse and Anne Marie Martin, who is billed as Eddie Benton, a name she used as an actress until 1981.

The Banshees Of Inisherin (2022)

Set in 1923 Ireland as the Irish Civil War is ending, a folk musician (Brendan Gleeson) is tired of his dimwitted drinking buddy (Colin Farrell) and his mindless prattle and attempts to end their relationship. But the dimwit doesn't get it and pushes for a reconciliation that ends in dire consequences for both of them. Written and directed by Martin McDonagh (THREE BILLBOARDS OUTSIDE EBBING, MISSISSIPPI). There's much to admire in this dark tale (with comic overtones) of a friendship gone bad but there are elements so disturbing that I had a difficult time getting into it. Frankly, I totally understood why Gleeson wanted to end the friendship and my empathy was with him and not the dimwit. But it escalates into downright nastiness and ugliness that eventually I lost my sympathy for him. There are two sympathetic characters, Kerry Condon as Farrell's sister (the only character with any sense in the movie) and Berry Keoghan as the physically and sexually abused son of a policeman (Gary Lydon). A big thumbs up to the wide screen cinematography of Ben Davis (CAPTAIN MARVEL) who makes rural Ireland look like heaven and Carter Burwell's discrete score. With Sheila Flitton and David Pearse.

The Three Musketeers (1921)

Set in 1625 France, a young man (Douglas Fairbanks) from a rural province leaves for Paris in the hopes of joining the King's musketeers. He soon finds himself involved with court intrigues, duels and a romance with the Queen's seamstress (Marguerite De La Motte). Based on the classic 1844 novel by Alexandre Dumas and directed by Fred Niblo (BLOOD AND SAND). There have been over 25 film and television versions of the Dumas novel between 1903 and 2013. The most notable being the 1948 MGM film, Richard Lester's 1973/1974 tongue in cheek adaptation and this silent version. D'Artagnan is the perfect role for Fairbanks, the king of swashbucklers of the silent era (he also played Robin Hood, Zorro and the thief of Bagdad). His high energy is infectious but the film itself moves at an uneven pace and often seems padded out such as the dinner at the monastery which adds nothing to the film when it should have been tighter. And it's not even the complete novel but only half of it, ending with the recovery of the Queen's diamonds. The murder of Constance and the execution of Milady are eliminated from this version. I watched the restored 2017 transfer and I must say it's the best the film has ever looked. With Adolphe Menjou as Louis XVI, Eugene Pallette as Aramis (and unrecognizable from the portly character actor he became in the sound era), Nigel De Brulier as Richelieu, Barbara La Marr as Milady, Mary MacLaren as Queen Anne, George Siegmann as Porthos and Leon Bary as Athos.   

The Awakening (2011)

Set in post WWI Great Britain. When the death of a child at a boarding school is blamed on a ghost, a hoax exposer (Rebecca Hall) is certain that science and reason can explain it. But the truth she discovers is more terrifying than she could ever imagine and soon the ghost hunter becomes the hunted. Directed by Nick Murphy (BLOOD), this elegant ghost story is reminiscent of Henry James' TURN OF THE SCREW (filmed as THE INNOCENTS in 1961), THE HAUNTING (1963) and THE OTHERS (2001). I suppose it's a horror movie but scares are not the main function of the film. There's no blood or gore or jump out of your seat moments (though there a couple of minor scares). I'd call it more of a psychological supernatural film. The film's somewhat ambiguous ending may prove unsatisfying to some but I liked it. Murphy whips up an effective atmosphere and a strong central performance by Hall overcomes its often derivative nature. With Imelda Staunton, Dominic West and Isaac Hempstead Wright.

Terms Of Endearment (1983)

The film follows the often rocky but loving relationship between a mother (Shirley MacLaine) and daughter (Debra Winger) over a 30 year period. Based on the novel by Larry McMurtry (THE LAST PICTURE SHOW) and adapted for the screen and directed by James L. Brooks (BROADCAST NEWS). A critical and commercial hit, this comedy (or should I say dramedy?) smoothly transitions to tearjerker without any awkward moments. I find its best picture Oscar win dubious but there's no denying the acting is first rate and what holds the movie together. MacLaine (in an Oscar winning performance), Winger and Jack Nicholson as a debauched ex-astronaut (also earning an Oscar) show why they are among the most admired actors of their respective generations and their cumulative chemistry is off the charts. They're so good, you don't mind that you're being manipulated. You laugh, you cry, what's not to like. A sequel would arrive some 13 years later. With Jeff Daniels, John Lithgow, Danny DeVito and Lisa Hart Carroll.

The Comedian (1957)

A popular TV comic (Mickey Rooney) is a nasty piece of goods. A megalomaniac who enjoys humiliating those who work with and for him. In particular, his weak willed younger brother (Mel Torme) who is the butt of his TV jokes. Based on the novella by Ernest Lehman (SWEET SMELL OF SUCCESS) and adapted by Rod Serling and directed by John Frankenheimer (THE MANCHURIAN CANDIDATE). Originally shown live on the omnibus TV series PLAYHOUSE 90, this is still a potent piece of drama from the aptly named "Golden Age" of television. One waits for this pint sized bully to get his comeuppance and when he doesn't, it's a kick in the gut. Rooney is sensational here, dripping with malice and spite and no concession toward likability. As the soft brother, Mel Torme gets our pity. We keep hoping he'll get a backbone but he's a born doormat. He'll attempt to fight back but he knows he'll never escape the position life has given him. With Kim Hunter, Edmond O'Brien, Constance Ford, King Donovan and Whit Bissell.

Hello Down There (1969)

When an inventor (Tony Randall) needs human guinea pigs to test his experimental undersea dream home 90 feet beneath the sea's surface, he packs up his wife (Janet Leigh), his kids and their rock band and takes the plunge. Directed by Jack Arnold (CREATURE FROM THE BLACK LAGOON) and Ricou Browning (the underwater sequences). This rather lame family comedy is reminiscent of those live action Disney family comedies, only with Randall and Leigh substituting for Fred MacMurray and Vera Miles. This being an Ivan Tors production, there are a lot of "cute" dolphins and seals and their antics which comes as a relief from the inane antics of the human characters. The less said about the "rock" songs sung by the kids' band, the better. The movie is flat as a pancake but not as tasty. With Richard Dreyfuss (who you'd never know had talent based on his appearance here), Roddy McDowall, Ken Berry, Merv Griffin, Jim Backus, Charlotte Rae, Kay Cole and Arnold Stang.

El Vampiro Negro (aka The Black Vampire) (1953)

A serial killer (Nathan Pinzon) has been murdering little girls without leaving any clues. A nightclub singer (Olga Zubarry) witnesses a man in the shadows dumping what appears to be a child's body into a sewer drain but when questioned by the police, not wanting to get notoriety, she denies having seen anything. Directed by Roman Vinoly Barreto (THE BEAST MUST DIE), this little known Argentine film is the second remake of Fritz Lang's M following the 1951 Joseph Losey film. It's an unofficial remake as the Lang film is not credited and often referred to as "inspired" by the 1931 Lang movie. On its own, it's an often intense thriller though one finds the police unsavory as they arrest people they know are innocent and often brutalize them. The government prosecutor (Roberto Escalada) in particular is a hypocrite judging the morality of the singer (who's a working single mother) while forcing himself on her. Which leaves Zubarry's nightclub singer to place our empathy with. As the pedophile, Pinzon lacks the strength of Peter's Lorre's performance in M. With Nelly Panizza, Pascual Pelliciota and Gloria Castilla as the prosecutor's wheelchair bound wife, the most sympathetic character in the film.

Ground Control (1998)

A former air traffic controller (Kiefer Sutherland) was one of the best in the business until one plane crash wipes out his professional and personal fortunes. Five years after the crash, a fierce storm cripples Phoenix and suddenly he's hurled back into the world he thought he'd left behind forever. Directed by Richard Howard, whose only film credit this is, possibly it's a pseudonym. As long as it keeps to the minutiae of the air traffic control room and the handling of planes, it's often intense and interesting. But as soon as it dwells on its characters, the dialogue is cliched which renders the controllers uninteresting as people. We also could do without the banality of the scenes with the anonymous passengers on the plane. Somehow, Sutherland manages to rise above the vapid screenplay and create a semblance of a human being. Some might call this a disaster film because of the planes in peril situation but I wouldn't since the emphasis is on the air traffic controllers and not the passengers on the plane. The score by Randy Miller is effective. With Henry Winkler, Kelly McGillis, Margaret Cho, Robert Sean Leonard, Bruce McGill, Kristy Swanson and Charles Fleischer. 

The Barretts Of Wimpole Street (1934)

The young poetess Elizabeth Barrett (Norma Shearer) is an invalid confined to her room and under the thumb of her domineering father (Charles Laughton). But when the young poet Robert Browning (Fredric March) comes into her life she thrives and falls in love. But is she strong enough to break away from her father's hold? Based on the 1930 play by Rudolf Besier and directed by Sidney Franklin (THE GOOD EARTH). An example of the prestige films churned out by MGM under Irving Thalberg's reign and Norma Shearer (Mrs. Thalberg) in one of her first lady of MGM  roles. She's insufferable but Laughton warming up for his Captain Bligh in MUTINY ON THE BOUNTY the following year brings a strong sense of malevolence as the sadistic father. Much of the incestuous suggestion present in the stage play has been removed but Laughton's performance subtly puts it back in. Sidney Franklin directed a remake in 1957 which is practically a scene by scene duplicate. Enough drama to hold our interest but oh that Shearer!  With Maureen O'Sullivan, Una O'Connor, Leo G. Carroll, Ian Wolfe and Marion Clayton.

The Square Jungle (1955)

A grocery clerk (Tony Curtis) is in danger of losing his father (Jim Backus) to alcoholism and his girl (Pat Crowley) through lack of career prospects. So he decides to become a professional boxer. Directed by Jerry Hopper (SECRET OF THE INCAS), this is a routine boxing drama with no surprises. We've seen it all before! Tony Curtis was on the verge of proving he could be a formidable actor in such films as TRAPEZE (1956) and SWEET SMELL OF SUCCESS (1957) but here, he's nothing more than a good looking contract player struggling with a cliched part in a mediocre boxing movie. In general, boxing movies don't interest me but even I know there are any number of superior boxing films than this. With Ernest Borgnine, David Janssen, Paul Kelly, Leigh Snowden, John Marley and Carmen McRae.